DOCSLIB.ORG

The Hollywood Cartoon Fmtv-Ut

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

UPDATED DRAFT CLASS SYLLABUS: 13 Dec 2019 submitted by John Canemaker FIRST DRAFT– 14 Oct 2019 submitted by John Canemaker UGFTV LOS ANGELES HISTORY OF ANIMATION – THE HOLLYWOOD CARTOON FMTV-UT. T.B.D. DAY/TIME: T.B.D. INSTRUCTOR: T.B.D. EMAIL: T.B.D OFFICE/HOURS: T.B.D. No Prerequisites. Description: A survey of the art and craft of the American animation industry, as an internationally popular art form developed in west coast studios by individual artists, producers and craftspeople using innovative artistic and cinematic techniques. Discussions include: the worldwide influence of “The Hollywood Cartoon”; the growth of the art form of animation; its place in popular culture; techniques, content and styles; use of ethnic and sexual stereotypes; evolving technologies past and present; the influence of Japanese anime on modern Hollywood cartoons and vice versa, among other topics. Rationale: Students will gain an understanding and develop critical analysis skills regarding the arts and crafts of classic and modern animated films created and/or developed in West Coast animation studios, such as: story structure and content; principles of motion, design; character creation and visualization; techniques of personality animation; cinematic technologies; history of the art form; business practices, promotional practices and audience reaction. Student Learning Objectives and Outcomes: The following course objectives and purpose of this course include: 1. Students will exhibit a working knowledge of the origin, development and worldwide influence of the creative processes of films made by personnel at west coast animation studios. 1 2. Students will study historically important classic and contemporary methods and theories re animation history and production processes. 3. Students will learn to locate and recognize materials regarding “The Hollywood Cartoon,” e.g., the Margaret Herrick Library in Los Angeles. 4. Students will gain understanding of strengths and weaknesses of the films, artists and methods analyzed. Outcome Anticipated for Course: By the end of the term, students will have gained a solid understanding of “The Hollywood Cartoon,” its history, techniques, key artists, studios and producers, and its worldwide influential reach. SCREENINGS Students are expected to watch films that are not shown in their entirety in class and to see current releases. SUGGESTED READING Hollywood Cartoons – American Animation in Its Golden Age by Michael Barrier. Oxford University Press, 2003. When Magoo Flew – The Rise and Fall of Animation Studio UPA by Adam Abraham. Wesleyan University Press, 2012. The Illusion of Life – Disney Animation by Frank Thomas and Ollie Johnston. 1981, revised 1995 Disney Editions The Lost Notebook: Herman Schultheis and the Secrets of Walt Disney’s Movie Magic by John Canemaker. Weldon Owen & Disney Family Foundation, 2014. ASSESSMENT 50% - Punctuality, fulfillment of requirements, in-class participation, short assignments. 50% - Two required essays are due and delivered on time, one at mid- term and the other on the last day of class. Also, students will maintain an “Idea Journal,” recording thoughts, research, and observations regarding the Hollywood Cartoon, which is also be delivered to the instructor in the last class. The assignments must be turned in on time to pass the course. Students are expected to participate fully, to learn to give objective, constructive and supportive feedback to one another. 2 Absence and lateness will have a serious impact on the student’s grade. Missing two classes or more will lower the grade by as much as one full letter point. Arriving late three times equals one missed class. No mobile phones are allowed in class. Turn them off before walking into the classroom. Eating is not allowed in class. WEEK TO WEEK WEEK 1 Introduction and explanation of the creative “how-to” process in the making of animated films, from ideas and concepts to fruition on the screen. Before the “Hollywood Cartoon”: 1898-1923 Origins of film animation. Pre-cinema optical toys (flipbook, zoetrope, etc.). Early animators: e.g., Blackton, Cohl, McCay, Barre, Terry, Bray, Fleischer. New York-based founding of the studio system -- the division between animation as an art form and an industry. 1923:Walt Disney moves from Kansas City to Hollywood, establishes the first west coast animation studio. Screening of examples. WEEK 2 Walt Disney Studio’s earliest Hollywood films, the first animation studio established on the west coast, e.g. Alice in Cartoonland series; Oswald the Lucky Rabbit series; Mickey Mouse series. Identifying/codifying Core Principles of Animated Storytelling; innovative soundtracks combining voice, music and sound effects; Chouinard Art Institute fine art schooling for Disney’s animators, and hiring of experienced New York animators; the beginnings of “personality animation.” Screening of examples. WK 3 From the Silly Symphonies to Snow White. Disney era of unprecedented experimentation and education. New artistic and technological advances in animation production, e.g., Technicolor; storyboards; sophisticated music composition and recording; art school on the studio lot; refinement of character animation and special effects; Multiplane Camera, etc. Screening of examples. WK 4 Former Disney animator/directors form new studios in Hollywood, e.g., Ub Iwerks 3 Studio (Iwerks was original designer and head animator of Mickey Mouse); both Warner Bros. and MGM cartoon studios were formed by Hugh Harman and Rudy Ising; Walter Lantz, who inherited Disney’s Oswald series, formed Universal Studio’s animation department. Screening of examples. WK 5 First Golden Era of Disney feature-length animated films: Snow White and the Seven Dwarfs (1937); Pinocchio (1940); Fantasia (1940); Dumbo (1941); Bambi (1942). Screening of examples. WK 6 War Years Production (1941-45). Hollywood studios produce training and patriotic propaganda films for the war effort. Disney’s Good Neighbor Policy South American films. New “modern art” styles emerge. Screening of examples. WK 7 The Golden Age (1940s-1950s) of Warner Bros. shorts animation characters (Bugs Bunny, Daffy Duck, et al) surpass Disney in popularity. Directing styles of Tex Avery; Bob Clampett; Friz Freleng; Chuck Jones. Screening of examples. Mid-term essay due: a five-page typewritten double-spaced essay of 1250 words recapping the previous six weeks of information and material, emphasizing the student’s opinions of it. WK 8 New Frontiers: UPA (United Productions of America) creates a graphic and content revolution in animation that reverberates in studios worldwide, e.g., Croatia’s Zagreb Film; UK’s Halas and Batchelor, among others. Directors include John Hubley, Pete Burness, Robert Cannon, et al. Films include Gerald McBoing Boing; The TellTale Heart; Madeline; Rooty Toot Toot; Mr. Magoo series, etc. Screening of examples. WK 9 Television Animation – Mid-century TV commercials, series & specials e.g. Hanna- Barbera; John and Faith Hubley (Everybody Rides the Carousel; Of Stars and Men); Chuck Jones series; UPA series. Screening of examples. WK 10 Postwar Disney features and on television (Disneyland/Mickey Mouse Club TV series) to 1966 (Walt Disney’s death). 4 Screening of examples. WK 11 1980s Disney Renaissance with new young artists, e.g. The Little Mermaid; Beauty and the Beast, The Lion King; among others, Screening of examples. WK 12 DreamWorks Animation (Jeffrey Katzenberg) challenges Disney’s domination of the feature market, e.g. Prince of Egypt; Antz; Shrek series; Kung Fu Panda; How to Train Your Dragon, among others. Screening of examples. WK 13 Hollywood Animation not made in Hollywood: Blue Sky Studios (Westchester, N.Y.) - Ice Age series; Rio series; Aardman Films (UK) - Chicken Run; Wallace & Gromit - The Curse of the Were Rabbit; The Pirates Laika (Portland, OR.) - Coraline; ParaNorman; Kubo and the Two Strings Screening of examples. WK 14 Pixar Animation Studios (Emeryville, CA.) - CGI innovations (Toy Story series; Monsters Inc.; The Incredibles; Finding Nemo; Brave; Up; Inside Out, among others. The Hayao Miyazaki factor: how Japanese anime and Miyazaki’s films’ themes on environmentalism, pacifism, feminism, love and family, influenced modern The Hollywood Cartoon style, characterizations, concepts and programming. Screening of examples. Final essay is due; and also the student’s Idea Journal. FINAL NOTES Your health and safety are a priority at NYU. If you experience any health or mental health issues during this course, we encourage you to utilize the support services of the 24/7 NYU Wellness Exchange 212-443-9999. Also, all students who may require an academic accommodation due to a qualified disability, physical or mental, please register with the Moses Center 212-998- 4980. Please let your instructor know if you need help connecting to these resources. Tisch School of the Arts is dedicated to providing its students with a learning environment that is rigorous, respectful, supportive and nurturing so that 5 they can engage in the free exchange of ideas and commit themselves fully to the study of their discipline. To that end Tisch is committed to enforcing University policies prohibiting all forms of sexual misconduct as well as discrimination on the basis of sex and gender. Detailed information regarding these policies and the resources that are available to students through the Title IX office can be found by using the this link: www.nyu.edu/about/policies-guidelines-compliance/equal- opportunity/title9 Follow NYUTischFilmPO on Instagram, Facebook, and Twitter and monitor email for Production Office notices covering FTV policies, facility hours and closing, production tips such as how to hire union actors or film safely in rain, and resources like free casting services and other NYU discounts. 6 .
Recommended publications
  • UPA : Redesigning Animation

    UPA : Redesigning Animation

    This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. UPA : redesigning animation Bottini, Cinzia 2016 Bottini, C. (2016). UPA : redesigning animation. Doctoral thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/69065 https://doi.org/10.32657/10356/69065 Downloaded on 05 Oct 2021 20:18:45 SGT UPA: REDESIGNING ANIMATION CINZIA BOTTINI SCHOOL OF ART, DESIGN AND MEDIA 2016 UPA: REDESIGNING ANIMATION CINZIA BOTTINI School of Art, Design and Media A thesis submitted to the Nanyang Technological University in partial fulfillment of the requirement for the degree of Doctor of Philosophy 2016 “Art does not reproduce the visible; rather, it makes visible.” Paul Klee, “Creative Credo” Acknowledgments When I started my doctoral studies, I could never have imagined what a formative learning experience it would be, both professionally and personally. I owe many people a debt of gratitude for all their help throughout this long journey. I deeply thank my supervisor, Professor Heitor Capuzzo; my cosupervisor, Giannalberto Bendazzi; and Professor Vibeke Sorensen, chair of the School of Art, Design and Media at Nanyang Technological University, Singapore for showing sincere compassion and offering unwavering moral support during a personally difficult stage of this Ph.D. I am also grateful for all their suggestions, critiques and observations that guided me in this research project, as well as their dedication and patience. My gratitude goes to Tee Bosustow, who graciously
  • The Disney Strike of 1941: from the Animators' Perspective Lisa Johnson Rhode Island College, Ljohnson 4205@Ric.Edu

    The Disney Strike of 1941: from the Animators' Perspective Lisa Johnson Rhode Island College, Ljohnson [email protected]

    Rhode Island College Digital Commons @ RIC Honors Projects Overview Honors Projects 2008 The Disney Strike of 1941: From the Animators' Perspective Lisa Johnson Rhode Island College, [email protected] Follow this and additional works at: https://digitalcommons.ric.edu/honors_projects Part of the Labor Relations Commons, Other Film and Media Studies Commons, Social History Commons, and the United States History Commons Recommended Citation Johnson, Lisa, "The Disney Strike of 1941: From the Animators' Perspective" (2008). Honors Projects Overview. 17. https://digitalcommons.ric.edu/honors_projects/17 This Honors is brought to you for free and open access by the Honors Projects at Digital Commons @ RIC. It has been accepted for inclusion in Honors Projects Overview by an authorized administrator of Digital Commons @ RIC. For more information, please contact [email protected]. The Disney Strike of 1941: From the Animators’ Perspective An Undergraduate Honors Project Presented By Lisa Johnson To The Department of History Approved: Project Advisor Date Chair, Department Honors Committee Date Department Chair Date The Disney Strike of 1941: From the Animators’ Perspective By Lisa Johnson An Honors Project Submitted in Partial Fulfillment of the Requirements for Honors in The Department of History The School of the Arts and Sciences Rhode Island College 2008 1 Table of Contents Introduction Page 3 I. The Strike Page 5 II. The Unheard Struggles for Control: Intellectual Property Rights, Screen Credit, Workplace Environment, and Differing Standards of Excellence Page 17 III. The Historiography Page 42 Afterword Page 56 Bibliography Page 62 2 Introduction On May 28 th , 1941, seventeen artists were escorted out of the Walt Disney Studios in Burbank, California.
  • (TMIIIP) Paid Projects Through August 31, 2020 Report Created 9/29/2020

    (TMIIIP) Paid Projects Through August 31, 2020 Report Created 9/29/2020

    Texas Moving Image Industry Incentive Program (TMIIIP) Paid Projects through August 31, 2020 Report Created 9/29/2020 Company Project Classification Grant Amount In-State Spending Date Paid Texas Jobs Electronic Arts Inc. SWTOR 24 Video Game $ 212,241.78 $ 2,122,417.76 8/19/2020 26 Tasmanian Devil LLC Tasmanian Devil Feature Film $ 19,507.74 $ 260,103.23 8/18/2020 61 Tool of North America LLC Dick's Sporting Goods - DecembeCommercial $ 25,660.00 $ 342,133.35 8/11/2020 53 Powerhouse Animation Studios, In Seis Manos (S01) Television $ 155,480.72 $ 1,554,807.21 8/10/2020 45 FlipNMove Productions Inc. Texas Flip N Move Season 7 Reality Television $ 603,570.00 $ 4,828,560.00 8/6/2020 519 FlipNMove Productions Inc. Texas Flip N Move Season 8 (13 E Reality Television $ 305,447.00 $ 2,443,576.00 8/6/2020 293 Nametag Films Dallas County Community CollegeCommercial $ 14,800.28 $ 296,005.60 8/4/2020 92 The Lost Husband, LLC The Lost Husband Feature Film $ 252,067.71 $ 2,016,541.67 8/3/2020 325 Armature Studio LLC Scramble Video Game $ 33,603.20 $ 672,063.91 8/3/2020 19 Daisy Cutter, LLC Hobby Lobby Christmas 2019 Commercial $ 10,229.82 $ 136,397.63 7/31/2020 31 TVM Productions, Inc. Queen Of The South - Season 2 Television $ 4,059,348.19 $ 18,041,547.51 5/1/2020 1353 Boss Fight Entertainment, Inc Zombie Boss Video Game $ 268,650.81 $ 2,149,206.51 4/30/2020 17 FlipNMove Productions Inc.
  • Expanding the Vision Visionfive Acres 2018-2019 Annual Report Table of Contents

    Expanding the Vision Visionfive Acres 2018-2019 Annual Report Table of Contents

    expanding the vision visionfive acres 2018-2019 annual report table of contents Letter from the CEO/Board Chair 2 Dear Friends, Each year we ask, what more can we be doing? What could our communities look like if we Mission statement and services 3 prevented even more families from breaking apart? What could be the futures of children who Who we serve 4 found forever families? When we reflect on our 2018-2019 year, we expanded the vision of our commitment to serve thousands of kids and their families. There are nearly 442,000 children Expanding safety 5 in foster care nationwide of which about 21,000 are in Los Angeles County. This year we expanded our reach to a sixth county so we can serve more kids in need and their families. Expanding well-being 7 Now in Los Angeles, Orange, Riverside, San Bernardino, Ventura, and Kern Counties, we fulfill Expanding permanency 9 our mission to promote safety, well-being and permanency for children and their families by building on their strengths and empowering them within their communities. Leadership and service areas 11 We experienced expansion of our programs, reaching more than 10,000 children and their families annually, focusing on their safety, well-being and permanency. We successfully provided 83% Financials 12 permanent family solutions to 83% of children who received our services. In addition, we Expanding your commitment 13 engaged others in expanding their vision of what it means to be committed to our mission and leave a legacy. Philanthropy Circle and Cumulative Giving 14 For their participation and partnership, we acknowledge our supporters, volunteers and staff for the contribution they make to achieve outcomes that impact the lives of those we serve.
  • Digital Surrealism: Visualizing Walt Disney Animation Studios

    Digital Surrealism: Visualizing Walt Disney Animation Studios

    City University of New York (CUNY) CUNY Academic Works Publications and Research Queens College 2017 Digital Surrealism: Visualizing Walt Disney Animation Studios Kevin L. Ferguson CUNY Queens College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/qc_pubs/205 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] 1 Digital Surrealism: Visualizing Walt Disney Animation Studios Abstract There are a number of fruitful digital humanities approaches to cinema and media studies, but most of them only pursue traditional forms of scholarship by extracting a single variable from the audiovisual text that is already legible to scholars. Instead, cinema and media studies should pursue a mostly-ignored “digital-surrealism” that uses computer-based methods to transform film texts in radical ways not previously possible. This article describes one such method using the z-projection function of the scientific image analysis software ImageJ to sum film frames in order to create new composite images. Working with the fifty-four feature-length films from Walt Disney Animation Studios, I describe how this method allows for a unique understanding of a film corpus not otherwise available to cinema and media studies scholars. “Technique is the very being of all creation” — Roland Barthes “We dig up diamonds by the score, a thousand rubies, sometimes more, but we don't know what we dig them for” — The Seven Dwarfs There are quite a number of fruitful digital humanities approaches to cinema and media studies, which vary widely from aesthetic techniques of visualizing color and form in shots to data-driven metrics approaches analyzing editing patterns.
  • The University of Chicago Looking at Cartoons

    The University of Chicago Looking at Cartoons

    THE UNIVERSITY OF CHICAGO LOOKING AT CARTOONS: THE ART, LABOR, AND TECHNOLOGY OF AMERICAN CEL ANIMATION A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY HANNAH MAITLAND FRANK CHICAGO, ILLINOIS AUGUST 2016 FOR MY FAMILY IN MEMORY OF MY FATHER Apparently he had examined them patiently picture by picture and imagined that they would be screened in the same way, failing at that time to grasp the principle of the cinematograph. —Flann O’Brien CONTENTS LIST OF FIGURES...............................................................................................................................v ABSTRACT.......................................................................................................................................vii ACKNOWLEDGMENTS....................................................................................................................viii INTRODUCTION LOOKING AT LABOR......................................................................................1 CHAPTER 1 ANIMATION AND MONTAGE; or, Photographic Records of Documents...................................................22 CHAPTER 2 A VIEW OF THE WORLD Toward a Photographic Theory of Cel Animation ...................................72 CHAPTER 3 PARS PRO TOTO Character Animation and the Work of the Anonymous Artist................121 CHAPTER 4 THE MULTIPLICATION OF TRACES Xerographic Reproduction and One Hundred and One Dalmatians.......174
  • Animated Stereotypes –

    Animated Stereotypes –

    Animated Stereotypes – An Analysis of Disney’s Contemporary Portrayals of Race and Ethnicity Alexander Lindgren, 36761 Pro gradu-avhandling i engelska språket och litteraturen Handledare: Jason Finch Fakulteten för humaniora, psykologi och teologi Åbo Akademi 2020 ÅBO AKADEMI – FACULTY OF ARTS, PSYCHOLOGY AND THEOLOGY Abstract for Master’s Thesis Subject: English Language and Literature Author: Alexander Lindgren Title: Animated Stereotypes – An Analysis of Disney’s Contemporary Portrayals of Race and Ethnicity Supervisor: Jason Finch Abstract: Walt Disney Animation Studios is currently one of the world’s largest producers of animated content aimed at children. However, while Disney often has been associated with themes such as childhood, magic, and innocence, many of the company’s animated films have simultaneously been criticized for their offensive and quite problematic take on race and ethnicity, as well their heavy reliance on cultural stereotypes. This study aims to evaluate Disney’s portrayals of racial and ethnic minorities, as well as determine whether or not the nature of the company’s portrayals have become more culturally sensitive with time. To accomplish this, seven animated feature films produced by Disney were analyzed. These analyses are of a qualitative nature, with a focus on imagology and postcolonial literary theory, and the results have simultaneously been compared to corresponding criticism and analyses by other authors and scholars. Based on the overall results of the analyses, it does seem as if Disney is becoming more progressive and culturally sensitive with time. However, while most of the recent films are free from the clearly racist elements found in the company’s earlier productions, it is quite evident that Disney still tends to rely heavily on certain cultural stereotypes.
  • School of Animation & Visual Effects Program Brochure

    School of Animation & Visual Effects Program Brochure

    School of Animation & Visual Effects academyart.edu SCHOOL OF ANIMATION & VISUAL EFFECTS Contents Program Overview ................................................. 5 What We Teach ....................................................... 7 The School of Animation & VFX Difference ........... 9 Faculty .................................................................... 11 Degree Options ...................................................... 13 Our Facilities .......................................................... 15 Student & Alumni Testimonials ............................ 17 Partnerships .......................................................... 19 Career Paths .......................................................... 21 Additional Learning Experiences ..........................23 Awards and Accolades ..........................................25 Online Education ...................................................27 Academy Life .........................................................29 San Francisco ........................................................ 31 Athletics .................................................................33 Apply Today ...........................................................35 < Student work by Jenny Wan 3 SCHOOL OF ANIMATION & VISUAL EFFECTS Program Overview The School of Animation and Visual Effects (VFX) is one of the most dynamic programs in the country. Join us, and get hands-on experience with the full animation and VFX production pipeline. OUR MISSION WHAT SETS US APART In the School of Animation
  • El Cine De Animación Estadounidense

    El Cine De Animación Estadounidense

    El cine de animación estadounidense Jaume Duran Director de la colección: Lluís Pastor Diseño de la colección: Editorial UOC Diseño del libro y de la cubierta: Natàlia Serrano Primera edición en lengua castellana: marzo 2016 Primera edición en formato digital: marzo 2016 © Jaume Duran, del texto © Editorial UOC (Oberta UOC Publishing, SL) de esta edición, 2016 Rambla del Poblenou, 156, 08018 Barcelona http://www.editorialuoc.com Realización editorial: Oberta UOC Publishing, SL ISBN: 978-84-9116-131-8 Ninguna parte de esta publicación, incluido el diseño general y la cubierta, puede ser copiada, reproducida, almacenada o transmitida de ninguna forma, ni por ningún medio, sea éste eléctrico, químico, mecánico, óptico, grabación, fotocopia, o cualquier otro, sin la previa autorización escrita de los titulares del copyright. Autor Jaume Duran Profesor de Análisis y Crítica de Films y de Narrativa Audiovi- sual en la Universitat de Barcelona y profesor de Historia del cine de Animación en la Escuela Superior de Cine y Audiovi- suales de Cataluña. QUÉ QUIERO SABER Lectora, lector, este libro le interesará si usted quiere saber: • Cómo fueron los orígenes del cine de animación en los Estados Unidos. • Cuáles fueron los principales pioneros. • Cómo se desarrollaron los dibujos animados. • Cuáles han sido los principales estudios, autores y obras de este tipo de cine. • Qué otras propuestas de animación se han llevado a cabo en los Estados Unidos. • Qué relación ha habido entre el cine de animación y la tira cómica o los cuentos populares. Índice
  • The Uses of Animation 1

    The Uses of Animation 1

    The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator.
  • Teachers Guide

    Teachers Guide

    Teachers Guide Exhibit partially funded by: and 2006 Cartoon Network. All rights reserved. TEACHERS GUIDE TABLE OF CONTENTS PAGE HOW TO USE THIS GUIDE 3 EXHIBIT OVERVIEW 4 CORRELATION TO EDUCATIONAL STANDARDS 9 EDUCATIONAL STANDARDS CHARTS 11 EXHIBIT EDUCATIONAL OBJECTIVES 13 BACKGROUND INFORMATION FOR TEACHERS 15 FREQUENTLY ASKED QUESTIONS 23 CLASSROOM ACTIVITIES • BUILD YOUR OWN ZOETROPE 26 • PLAN OF ACTION 33 • SEEING SPOTS 36 • FOOLING THE BRAIN 43 ACTIVE LEARNING LOG • WITH ANSWERS 51 • WITHOUT ANSWERS 55 GLOSSARY 58 BIBLIOGRAPHY 59 This guide was developed at OMSI in conjunction with Animation, an OMSI exhibit. 2006 Oregon Museum of Science and Industry Animation was developed by the Oregon Museum of Science and Industry in collaboration with Cartoon Network and partially funded by The Paul G. Allen Family Foundation. and 2006 Cartoon Network. All rights reserved. Animation Teachers Guide 2 © OMSI 2006 HOW TO USE THIS TEACHER’S GUIDE The Teacher’s Guide to Animation has been written for teachers bringing students to see the Animation exhibit. These materials have been developed as a resource for the educator to use in the classroom before and after the museum visit, and to enhance the visit itself. There is background information, several classroom activities, and the Active Learning Log – an open-ended worksheet students can fill out while exploring the exhibit. Animation web site: The exhibit website, www.omsi.edu/visit/featured/animationsite/index.cfm, features the Animation Teacher’s Guide, online activities, and additional resources. Animation Teachers Guide 3 © OMSI 2006 EXHIBIT OVERVIEW Animation is a 6,000 square-foot, highly interactive traveling exhibition that brings together art, math, science and technology by exploring the exciting world of animation.
  • Steamboat Willie

    Steamboat Willie

    Steamboat Willie By Dave Smith, Chief Archivist Emeritus, The Walt Disney Company Walt Disney, who would become the best-known producer in animation history, had very humble beginnings. Starting his fledgling company in Hollywood in 1923, he began by making two uninspired animated series, the “Alice Come- dies,” and “Oswald the Lucky Rabbit.” But it was with his third series, featuring an enduring character, Mickey Mouse, that Walt rose to fame. That series began with the release of "Steamboat Willie" at the Colony Theater in New York on November 18, 1928. Early in 1928, Walt Disney was disheartened. He had gone to New York to negotiate with his distributor, only to discover that the distributor had taken over the rights to his Oswald cartoons. Walt began thinking of a possible successor to Oswald while riding on the train on his way back to California. There have been many stories of the inception of Mickey Mouse, but on that train ride, Walt may have been recalling a playful little mouse that had made itself at home in Walt’s Kansas City Studio, where he had first started to experiment with animation. On re- turning to California, Walt met with several of his staff members, and they came up with Mickey Mouse. Ub Iwerks, Walt’s chief animator, was tasked with actually designing the character, with input from Walt. Two Mickey Mouse cartoons were made starting that This illustration, titled “Mickey Mouse inbetweener drawing no. 469 spring, “Plane Crazy” and “The Gallopin’ Gaucho.” Walt or 479 from Steamboat Willie” appears courtesy Library of Congress tried desperately to sell a distributor on a series based on Prints & Photographs Online Catalog.